M.: Type. T-va I.D. Sytina, 1918. 20 p., ill. 20.4x15 cm. In the publisher's illustrated chromolithographed cover. The famous "Sytin" popular print book for children.
Parsley- one of the characters of Russian folk puppet shows. Depicted in a red shirt, canvas pants and a pointed cap with a tassel; traditionally Petrushka is a glove doll (glove doll). Petrushka is “a nickname for a farce doll, a Russian jester, a joker, a wit in a red caftan and in a red cap; name is Petrushka, also the whole clownish one, puppet den". The origin of this doll, which appeared in Russia in the second half of the 19th century, has not been reliably clarified. Although in Russia Petrushki have been known since the 17th century. Russian puppeteers used marionettes (puppet theater on strings) and parsleys (glove puppets). Until the 19th century, preference was given to Petrushka, by the end of the century - puppets, as parsley-makers teamed up with organ-grinders. Petrushka’s appearance is by no means Russian: he has exaggeratedly large hands and a head, facial features are hypertrophied, the face itself (carved from wood) is treated with a special vegetable liquid, which makes it look darker; large almond-shaped eyes and a huge hooked nose, completely white eyeballs and a dark iris, due to which Petrushka's eyes appear black. He inherited Petrushka's appearance from the Italian Pulcinella. Many mistakenly believe that Petrushka's wide-open mouth is a smile, but this is not so; being negative character, Parsley constantly stretches his lips in a grin. He has four fingers on his hands (a possible symbol that Petrushka is not a person, but some character from another world). A typical misconception - to venerate Petrushka as an extremely ancient and primordially Russian hero, is based on his archetypal character traits, which originated in the depths of human ideas about oneself. Parsley is the younger relative of the older ones: the Neapolitan Pulcinella, the French Polichinelle, the English Punch, the Turkish Karagöz, the German Hanswurst and Kasperle, the Spanish Don Cristobal and others, despite the fact that they are all theatrical puppets and are controlled with the help of threads. The only analogue of Petrushka in terms of driving technique is the Guignol glove doll, which appeared in Lyon at the beginning of the 19th century. The famous Russian writer Maxim Gorky, describing the image of Petrushka, wrote the following:
“... a figure was created ... known to all nations ...
This is the invincible hero of the folk puppet comedy, he defeats everyone and everything: the police, the priests, even the devil and death, he himself remains immortal. In a rude and naive way, the working people embodied themselves and their belief that in the end it is they who will overcome everything and everyone. The parsley screen consisted of three frames fastened with staples and covered with chintz. She was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen the actor began to communicate with the audience through a beep (whistle). Later, with laughter and a reprise, he ran out himself, in a red cap and with long nose. The organ-grinder sometimes became Petrushka's partner: because of the squeaker, speech was not always intelligible, and he repeated Petrushka's phrases, carried on a dialogue. The comedy with Petrushka was played out at fairs and in booths. In Russia, only men "led" Petrushka. To make the voice louder and squeaky (this was necessary both for audibility at fair performances and for the special character of the character), they used a special beep inserted into the larynx. Petrushka's speech was supposed to be "piercing" and very fast. Before mid-nineteenth century in Russia, Petrushka did not yet have its current name. Most often, he was then called "Ivan Ratutu" or "Ivan Ratatouille" (which betrays the French roots of the doll). There is a version about the origin of the nickname Petrushka from the Ukrainian word “spade” (save). The current name came to Petrushka after the appearance among his many everyday scenes of the miniature “Petrushka and the policeman”, in which, during numerous attacks, the policeman says to Petrushka:
“You don’t even have a passport!”,
to which Petrushka proudly replies:
"Eat! According to the passport, I am Pyotr Ivanovich Uksusov!
From some memoirs and diaries of the 1840s, it follows that Petrushka was called Pyotr Ivanovich Uksusov. The famous Russian puppeteer Sergei Obraztsov called Petrushka Petr Petrovich Uksusov (the story "Four Brothers") or Vanka Ratatuy. There were main plots: the treatment of Petrushka, training in the soldier's service, the scene with the bride, buying a horse and testing it. The stories were passed from actor to actor, by word of mouth. Not a single character in the Russian theater had the popularity equal to Petrushka. According to a widespread but unproven version, plays with the participation of Petrushka were still part of the repertoire of buffoons and consisted of humorous skits and dialogues. Each scene depicted Petrushka's fight with one or another character (the fights were carried out with the help of fists, sticks, etc.). Usually the performance began with the following plot: Petrushka decides to buy a horse, the musician calls a gypsy horse-dealer. Parsley examines the horse for a long time and bargains with the gypsy for a long time. Then Petrushka gets tired of bargaining, and instead of money, he beats the gypsy on the back for a long time, after which he ran away. Petrushka tries to get on a horse, which throws him off to the laughter of the audience. This could go on until the people laughed. Finally the horse runs away, leaving Petrushka lying dead. The doctor comes and asks Petrushka about his illnesses. It turns out that he is in pain. There is a fight between the Doctor and Petrushka, at the end of which Petrushka hits the enemy hard on the head with a club.
What kind of doctor are you? shouted Petrushka,- if you ask where it hurts? Why did you study? He himself must know where it hurts!
The quarter appears.
"Why did you kill the doctor?"
He answers:
“Because he doesn’t know his science well.”
After the interrogation, Petrushka beats the quarterly with a club on the head and kills him. A growling dog comes running. Parsley unsuccessfully asks for help from the audience and the musician, after which he flirted with the dog, promising to feed it with cat meat. The dog grabs him by the nose and drags him away, and Petrushka shouts:
- “Oh, my little head with a cap and a brush is gone!”
The music stops, which means the end of the show. If the audience liked it, they did not let the actors go, applauded, threw money, demanding continuation. Then they played a small scene "Petrushka's wedding." The bride is brought to Petrushka, he examined her as they examine horses. He likes the bride, he does not want to wait for the wedding and begins to beg her to "sacrifice herself." From the stage where the bride “sacrifices herself”, the women left and took their children with them. According to some reports, another scene in which a clergyman was present was a great success. She did not get into any of the recorded texts, most likely, censorship removed her. There were scenes in which Petrushka did not participate. It was dancing and juggling with balls and sticks. Petrushka defeated all opponents, except for one - Death. In the last, final scene, Death took Petrushka with her. However, since Petrushka was used in the farce theater, it is natural that the performance was shown repeatedly and in different places. Thus, Petrushka, "dead" for one circle of spectators, "resurrected" for another. This gives rise to researchers to draw parallels between the image of Petrushka and many different pagan gods endlessly dying and resurrecting.
Here is what Alexander Benois recalls about Petrushka:
“In fact, the first performances that I amused myself with were the performances of Petrushka. In any case, I remember Petrushka at the dacha, when we were still living in the Cavalry houses. A piercing screech, laughter and some words are already heard from afar - all this is uttered by Petrushechnik through a special typewriter, which he put on his cheek (the same sound can be reproduced if you pinch both nostrils with your finger). Motley cotton screens are quickly set up, the “musician” puts his barrel-organ on folding goats, the nasal, mournful sounds it makes are tuned in a special way ... And then a tiny and very ugly little man appears above the screens. He has a huge nose, and on his head is a pointed hat with a red top. He is unusually mobile and nimble, his hands are tiny, but he gestures very expressively with them, he deftly threw his thin legs over the side of the screen. Immediately, Petrushka teases the organ grinder with stupid and impudent questions... Petrushka takes care of the terribly ugly Akulina Petrovna, he proposes to her, she agrees, and both make a kind of wedding walk, holding tightly by the arm. But a rival appears - this is a gallant mustachioed policeman, and Akulina apparently gives him preference. Petrushka, in a rage, beats the guardian of order, for which he falls into the soldiers. But the soldier's teaching and discipline are not given to him, he continues to commit excesses and, oh horror, kills his non-commissioned officer. Here is an unexpected interlude. For no reason, they emerge two, in bright costumes of dressed, black -haired Arap. Each has a stick in their hands, which they deftly toss up, throw to each other, and, finally, loudly clobber each other on wooden heads with it. The interlude is over. Again on the screen Petrushka. He became even more fidgety, even more mobile, he enters into impudent altercations with the organ grinder, squeals, giggles, but the fatal denouement immediately comes. Suddenly, next to Petrushka, a figure gathered into a shaggy lump appears. Petrushka is extremely interested in her. In a nasal tone, he asks the musician what it is, the musician replies: "it's a lamb." Petrushka is delighted, strokes the "learned, soaked" lamb and sits on it. The “lamb” obediently makes two or three rounds with its rider along the side of the screen, but then suddenly throws it off, straightens up and, oh horror, this is not a lamb at all, but the devil himself. Horned, all overgrown with black hair, with a hooked nose and a long red tongue protruding from a toothy mouth. The devil butts Petrushka and ruthlessly pats him, so that the arms and legs dangle in all directions, and then drags him into the underworld. Three more times the pitiful body of Petrushka takes off from some bowels high, high, and then only his death cry is heard and an “eerie” silence sets in ... " Life of the Artist. Memories. Volume 2. Alexander Benois.
Occurs in almost all cities, suburbs and villages of Russia.
STEP ONE
Characters:
Parsley, Musician, Gypsy and horse.
A Musician with a barrel-organ, his comrade, the chief comedian, appears in the distance; he has screens, a box of dolls. Petrushka, still sitting in the box, sings in a shrill voice:
Along Piterskaya
Along the path
Petenka is going
Yes with a bell!
The screens are laid out; all this time, Petrushka sings and shouts whatever comes into his head. Finally, he himself appears and, with a loud laugh, sits down on the edge of the screen.
Parsley. Ha ha ha! Dear gentlemen! So I came here, not in a tarantass-rydvan, but right on an airplane - in an oak box! My respect to you, gentlemen! I am your old friend - Petrushka. I came to amuse you, amuse you and congratulate you on the holiday! ( Refers to the Musician.) The gypsy didn't come?
Musician. It's been waiting for you for a long time.
Parsley. Call here!
Appears Gypsy with a horse.
Gypsy. Hello, Musya Shishel-Myshel! I came to you myself as a horse breeder! How are you doing? Do you get sick often? I am Gypsy Mora from the gypsy choir, I sing in bass, eat pineapple, drink kvass!
Parsley. That's what, grimy mug, Humpty-Baltai! Don't talk in vain, but speak your mind!
Gypsy. My acquaintance, the Englishman Rock, stuck a pitchfork in his side, roams all over Europe, spends the night at Khitrovka ... Shishel-Myshel, I heard from someone that you need a good horse.
Parsley. Yes, brother, I have been busy for a long time - I want to start a race runner. But do you have a good horse?
Gypsy. Such a horse, master, that without a collar drive four whips ... and then only in the wind! Not a horse, but fire: it runs - it trembles, stumbles, but if it falls - it does not rise!
Parsley. Oh oh oh! Fathers-matchmakers! That's the horse! And what suit?
Gypsy. Brown, bay, thin on the sides, with spots, without a tail and mane - shaggy, crooked in one eye, the same as you - humpbacked. Arabian breed, with a certificate.
Parsley. This is the one I need... And how much does it cost?
Gypsy. For whom four thousand, and to you, through an acquaintance, I will give two hundred rubles!
Parsley. What are you, grimy, expensively broken? Or didn't sleep?
Gypsy. My request does not fit into your nose! Speak to your heart's content: how much do you give?
Parsley. Ruble and a quarter.
Gypsy. What kind of a wolf are you, howl with you! Give the kids extra milk.
Parsley. Well, here's a hundred rubles for you.
Gypsy. Not enough, the gentleman is good! Add more.
Parsley. Do you want a hundred and fifty and two kopecks?
Gypsy. There is nothing to do, for a dear friend and an earring from an ear! Give me money.
Parsley. Wait, I'm going to get my wallet now. (He leaves and quickly returns with a ratchet club, begins to beat the Gypsy on the head.) Here's a hundred, here's a hundred and fifty! (Gypsy runs away.) Hey, hey! Grimy! Wait - two more pennies left! (Laughs and turns to the Musician.) Musician, did I buy a horse cheaply?
Musician. What better! He just acted dishonestly - he didn’t give two kopecks!
Parsley (laughs). And the horse is good - very young! Not a single tooth in my mouth! (Sits on horseback.) Farewell, Musician, goodbye, gentlemen, guys!
Musician. Where are you, Pyotr Ivanovich, going?
Parsley. From here, through Vologda and Arkhangelsk, I will go straight to the Caucasus - to drink Kakhetian kvass. (The horse kicks.) Whoa! Whoa! Sivka-burka! Hush, damn! And then I will fall and become humpbacked for a whole century! (The horse throws Petrushka behind the screen.) Oh, fathers! My little head is gone! My death is coming!.. Musician. And where is your death, Pyotra Ivanovich?
Parsley. Oh oh oh! Behind the Zemstvo outpost, digging potatoes in the garden!
Musician. Do not grieve: it will not come soon.
Parsley. Yes, in twenty years, by Pokrov, I’ll probably die ... Call the doctor as soon as possible!
Musician. I'll bring it up in a moment.
ACT TWO
Parsley, Musician and Doctor.
Parsley (lies and groans).
Let the grave punish me
I am not afraid of my death!
Included Doctor.
Doctor. Who is sick here? What kind of noise is this? Do not moan, do not scream, but lie quietly until death! I am a famous doctor-healer, a pharmacist from under the Stone Bridge. Obstetrician and farrier, the whole Zatsepsky shaft knows me! Occurred all sciences in Italy and much further; performed operations in Paris and here closer to us! I have a talent, I know how to heal: whoever comes to me on his feet, he will go from me on crutches or be taken on wood. Where is the patient?
Parsley. Father horse-doctor, pharmacist from under the bridge! Have pity on me, orphan girl, don’t ruin me: don’t take it on firewood, and it’s better in a stroller.
Doctor. Well, tell the news about your pain: inside or outside? Here or here? (Feels Petrushka.)
Parsley. Here, between the shoulder blades, near the pad, and the right bridge aches.
Doctor. Here?
Parsley. Lower and more to the left!
Doctor. Here?
Parsley. Up to the right!
Doctor. What an idiot you are! With you, you will lose all peace. Down, then up! Get up and tell me!
Parsley. Father doctor, I don’t have the strength to get up! Apparently, my pain dragged on for forty years. Oh oh! Now I'll get up and show you. (He rises with difficulty, leaves and returns with a stick, with which he beats the Doctor on the head, neck and back.) Here it breaks! Here it groans! In this place it hurts, but here it hurts!
The Doctor runs away.
ACT THREE
Parsley, Musician and German.
German (singing and dancing). Tra-la-la! Tra-la-la!
Appears Parsley.
Parsley. Musician, what is this stuffed animal?
Musician. And this is a foreign person, he does not speak Russian, ask him in French.
Parsley. How is that in French?
Musician. Parlay-vu-france, Alphonse Rallet.
Parsley. Hey mister musyu! Parlay vu france? (The German bows silently.) What the hell! He doesn't know a damn thing about French! It must be a German from the Green Isles. Let me ask him in German... Sprechen-see-deutsch, Ivan Andreevich?
German. Oh me! Their sprehe gut.
Parsley. Who is being burned here? Speak Moscow.
German. Main liber ger, you?
Parsley. What kind of kvass did you find here? Here, I'll bring you a glass! (He beats the German with a stick, he runs away.) Musician, where did the German go? He must have run to drink some kvass... Let me go and grab a glass!
Musician. Wait, he'll be right back, it's probably him who wants to treat you.
Parsley. That is good! And while I sing a song. (Sings, sadly shaking his head.)"In the evening in the rainy autumn ..." (A German appears, hits Petrushka on the head with a stick and quickly disappears.) What a curiosity this is, brother Musician: as if a mosquito flew and touched me on the back of the head with its wing! (The German appears again and bows.) Aha! So Sprechen-zee-deutsch is back! Musician, why can't he see the bottle, but some kind of stick?
Musician. This is his corkscrew.
Parsley. Good corkscrew! Here I am now corkscrewing them! (He snatches a stick from the German and beats him on the head several times, the German falls on the barrier.)
Musician. What have you done, villain! After all, you killed him.
Parsley. Bought? Why do I need it? If you want, I'll give it to you for free - completely with tripe and bones.
Musician. What is he to me? You're going to get sued with him!
Parsley. Well, I'll sell it on the market. (She puts the German on her back, turns around with him in all directions and shouts.) Pigs! Pigs! Who needs it, I'll sell it cheap! .. (Hides.)
ACT FOUR
Parsley, Musician and later Corporal.
Parsley(dancing, singing).
Everyone knows me for the grip,
At least I'm ready to swear to you -
From Varvarka to Arbat
And to the Presnensky Ponds!..
Appears Corporal, Parsley is instantly hidden.
Corporal. Musician, where did Petrushka hide?
Musician. I can't know, Mr. Corporal! Went left, or maybe turned right.
Only the head of Petrushka is shown from behind the screen.
Parsley. Musician, tell him I've gone to Paris...
Corporal (turns quickly and grabs Petrushka). Here I'll show you, a swindler, Paris - you'll get rid of it quickly! You are all rowdy here noble people being rude! You scream, yell, you don’t give peace to the whole of Moscow! Here, my dear, I will take you as a soldier without a term! .. You will start to drive frogs out from under my guns.
Parsley. Your frying pan, mister guard-corporal! What kind of soldier am I - a cripple with a hump? The nose is hooked, the head is a knot, and the box itself! And then I have no backbone!
Corporal. You're lying! Where is your hump?
Parsley. I lost my hump on Trubnaya Square!
Corporal. This won't get rid of me! Here's a gun for you, stand in front!
Parsley. It's not a gun, it's a stick!
Corporal. Fools are first taught with a stick, and then with a gun. Attention! Equal! K but-oh-oh-gee!
Parsley. Oops, fleas bite!
Corporal. Listen to the command: on the shoulder!
Parsley. Oooh, it hurts so hot!
Corporal. Right shoulder forward!
Parsley(hitting him with a stick). Here's to you, here!
Corporal. What are you doing, fool? Do not get you the next rank.
Parsley. I stumbled a little, Mr. Corporal! ..
Corporal. Hear the command: around, march! (Petrushka walks behind the Corporal.) Left, right! One, two!
Parsley. Damn curly! (Hits Corporal on the back of the head.) Three, four, five, six! Go brush your hair?
The corporal runs away.
ACT FIVE
Parsley, Musician and mongrel.
Parsley. Ha ha ha! Cleverly I, Musician, served? Received the rank of ensign of the reserve!
Musician. What is better? Now you, Pyotr Ivanovich, should also think about the wedding... Prepare your dowry.
Parsley. I have a rich dowry: all things are good - five caftans with brand new patches, three crumpled hats, an arshin and a half of canvas, a horse on three legs, without a tail, an onion and a soldier's button in the barn ... There is a teapot without a lid with one handle, and he is given for repair!
Musician. Dowry important! Full house you will live!
A big shaggy one jumps out dog and with an angry bark rushes at Petrushka.
Parsley (smacks). Shavochka! Shavochka-kudlavochka! .. (The dog grabs him by the caftan.) Where are you, outcast? Stop, stop! You'll tear your official uniform. Oh boy, it hurts! Shavochka, darling! Let's go live with me - I'll feed you cat meat! (The dog rushes and grabs him by the nose.) Ay-ay! Doves, brother-in-laws! Step up, folks! Don't let the dog die! Disappear, my daring little head, with a cap and a brush!
The dog pulls Petrushka and drags him by the nose.
Kuznetsova Oksana
This year I was interested in the topic of history of the origin of the Petrushka theater. The Petrushka Theater is a folk puppet theater but until the end of the 19th century Petrushka Theater was not a theater for children. About history of Petrushka theater You can learn a lot from literature, the Internet. Some information about it presented in the presentation of my publication. And I was wondering about musical accompaniment puppet show , a small research(a trip to regional library, a children's library, browsing Internet articles, studying literature on local history). That's exactly what my post is about.
I was lucky that I had three toys parsley(Soviet issue, two toys presented in the photo, and the third has not yet been altered (from previous publications, many colleagues know that I collect such dolls and restoring clothes.
Musical accompaniment of the Petrushka Theater.
Part of the majority theater performances« parsley» there were songs and dances. The heroes of the comedy sang lyrical songs, dance songs, couplets of a ditty warehouse, cruel romances, songs literary origin. They danced Kamarinskaya, trepaka, "lady", polka, waltz, etc. For example, under "Kamarinskaya" Parsley dances with the bride, a German appears to the sounds of a waltz. Big role in comedy musical inserts. Dances and songs, hurdy-gurdy melodies were not just musical design of the performance, they were designed to set the audience in a cheerful, festive mood, to create an additional comic effect by contrasting the ratio of melody and action, serve as a characteristic of the characters.
Puppeteer was free to choose his repertoire, distribution it between the characters, in the richness of the performance musical inserts. First of all, it depended on talent parsley, taste, ability to sing and knowledge of songs and dances, from his ability "feel" the public. However, there were still some limitations and patterns. Firstly, songs and melodies popular in the given environment were chosen. This was done not only because the performances were designed for the widest, grassroots circle of spectators, but another thing is no less important. Due to their specificity, folk puppet shows cannot go for a long time and require frequent change of episodes, accelerated action. Therefore, the heroes of such a performance, as a rule, do not sing songs in their entirety and do not dance for a long time, otherwise this will break the pace and will certainly affect the quality. representation. A verse is performed, the initial lines of the song are played, the first bars of the melody are sung, sung or whistled, and, since the well-known works are used, the audience themselves instantly restore the whole and tune in to the desired one in this moment fret. In addition, often song- musical the insert creates a comic effect by parodying some work, and the degree of comicality largely depends on the popularity of the parodied thing. Often audience laughter accompanies performance of the song because its content is sharply opposed to the actions of the characters. Parsley climbs with difficulty onto a horse, sits back to front, comically grabs his tail or mane so as not to fall off, and sings a dashing coachman's song, “I will harness a trio of greyhound dark brown horses”. No less contrasting and funny are the lines of the romance "Do not leave, my dear, Do not leave the fields, dear." performed Parsley immediately after how he beats and drives away the black man with a stick.
To work with children in kindergarten I picked up Russian folk tunes, dance, nursery rhymes and songs. IN modern conditions Parsley acts not as a rude and a deceiver, but as one who needs to be taught good manners and correct behaviour.
Related publications:
Fairy tales: "Zayushkina's hut", "Mitten" and Christmas story about carols. Puppet show- very loved by children, and always when announced.
Theater is a magical world. He gives lessons in beauty, morality and morality. And the richer they are, the more successful development is. spiritual world children…”.
Methodological development of the puppet show "The Tale of the Gray Baikal" Fairy tale of the Gray Baikal. Based on the Buryat folk tale"Magic Chest" PREFACE: The basis of the theatrical puppet show.
The scenario of the puppet theater based on the fairy tale by K. I. Chukovsky "Fedorino's grief" The scenario of the puppet theater based on the fairy tale by K. I. Chukovsky "Fedorino's grief" (Fedora is barely walking) I would wash the dishes, Just do not raise the handles.
Bryansk region, Palace of Culture White Shores, choirmaster.
Game script - entertainment program for children of primary school age. "Fair Theater Petrushka" April 3, 2015
With the participation of the vocal group of folk singing Zhuraveyka
Target:
The study and promotion of folk (folklore) creativity.
Tasks:
-Introduce the history and features of the fair puppet show;
-Introduce characters (dolls) and features of their production and management;
-Show options game songs and teach the basics of folk everyday "playing" of songs and dances;
-Teach kids just to play game dances, game songs, dance games rather than compete for prizes.
Game material:
"Cabinet" of dolls: Petrushka, Bride, Doctor-healer, Gypsy, Dog Mukhtarka, Horse.
Screen;
Tambourine;
Bag.
Music material:
hurdy-gurdy records;
"Like at the gate" ( folk song);
"The moon shines" (folk song);
"Chizhik fawn" (folk choruses).
Application:
Methodical material "History of puppetry folk theater Parsley".
Vedas: Good day to all. We are glad to see you here again. I hope you all remember how we conduct ourselves. Sit quietly, listen carefully, and tea will be offered not to refuse.
In wide Rus' our mother
The bell ringing is spreading.
In cities both large and small
People gather in booths.
As people gather at our gates.
All that with spoons and rattles.
As our neighbor had a cheerful conversation.
Geese in the harp, ducks in the pipes,
Tap dances in rattles, seagulls in balalaikas.
They sing and play, they amuse everyone!
What you don’t hear here, what you don’t see here!
Here are toys, here are Petrushki,
Tea from a samovar, kvass from a mug!
Hurry people, gather people
Come on people, now the holiday is here!
“Like ours at the gates” (folk song performed by the folklore association “Zhuraveyka”)
Vedas: Guys, today we invite you to the Fair Balagan. Yes, not just open your mouth to stand, but to find my friend. Well, look to the right, and now to the left. Well, how can you not see? No? But let me tell you what it is, then you will immediately find it. Listen.
He has a red cap, a bright shirt, a long and cunning nose, and a stick in his hand. Everyone loves him. In the old days, he performed both in the countryside and in the city in courtyards and squares. He moved from place to place, from city to city. He is cunning and cocky, and he also loves all sorts of pranks.
In a bright red jacket
He is with a club in his hand.
funny toy
And her name is ... (Petrushka)
(Children answer - "Parsley")
Vedas: Parsley is a cheerful guy who loves the barrel organ to play, and then he dances. The barrel organ is such a musical instrument. That's how beautiful she is. (Points to the hurdy-gurdy) And her sound is very melodic. Hey, musician, play something funny for us, and I'll go and call my friend Petrushka. Let him show himself to the guys, let him dance. (calls, retreating behind the screen). Parsley. Petr Ivanovich. Petrusha where are you?
(the musician starts to turn the hurdy-gurdy handle. An old hurdy-gurdy melody sounds)
"Parsley"
A play in five scenes.
Characters
Parsley
Gypsy 
Horse 
Musician 
Praskovya Stepanovna - Petrushka's Bride 
Doctor 
Mukhtarka dog 
Picture one
Musician: (calling) Petrushka. Petrusha, come out. Show yourself to the people.
Parsley: (from behind the screen) As. Nope.
Musician. Petrusha, come out. You see people are waiting. Come out.
Parsley. I'm afraid.
Musician. Do not be afraid. We will slap you. Well, people, do not spare your hands, clap louder so that fluff flies.
Parsley. Ahhh here I am. We wish you well, gentlemen. Be healthy, with that day and the holiday that is today. (bows quickly and a lot) Well, stop clapping, otherwise I have redness on my face from embarrassment.
Musician. And what happened?
Parsley. (Turns to the Musician.) Musician! You know, I, brother, want to get married.
Musician. Not a bad thing, but on whom?
Parsley. Oh-ee-ee! On Praskovya Stepanovna, on the merchant's daughter.
Musician. Do you take a lot of dowry?
Parsley. Forty-four thousand pancakes, a barrel where there is water, from the floor of the dress wardrobe and one boot.
Musician. The dowry is not bad, but the bride is good?
Parsley. Eee, very good!
Musician. Well, show me.
Parsley. I'll call now. (Calls.) Paraskovia Stepanovna! Darling, my angel, flower, please come here! (Parascovia goes. At this time, Petrushka meets and presses and kisses her tightly to her heart and asks.)
Parsley. (Turns to the Musician.) Musician! What about my fiancee?
Musician. Good, good, but a little blind.
Parsley. Not true! What an eye, what an eyebrow, mouth, nose, and what beads.
Musician. So does she have a mustache? Why do you need a mustachioed bride.
Parsley. Yes, not a mustache, but beads. (and at this time he kisses) Oh, you are deaf. And also a musician. Better play us a dance!
Petrushka and the Bride dance and sing:
Folklore group "Zhuraveyka" - "The moon shines"
Then Petrushka hugs her and escorts her home.
Picture two.
Parsley. Hey musician!
Musician. What's happened?
Parsley. Thank God I got married.
Musician. It's good, you need to buy a horse for your young wife.
Parsley. Who?
Musician. At the gypsy.
Parsley. And what is his name?
Musician. Gavrilo.
Parsley. Come on, call him.
Musician (refuses). Not a great gentleman, you will call yourself.
Parsley. Where does he live?
Musician. On the corner, in the right tavern.
Parsley (calling Gypsy). Hey, Gavrylo, smeared snout, come here!
Gypsy (walks and sings). Ay, my streamlet is a streamlet
Ay, I took water for seagulls, romals
Ai nane chavalele.
Parsley. I heard that you have a sales horse. Do you want expensive? And is she good?
Gypsy. Good is good. Not a sopat, not a humpback, he runs - the earth trembles, but if he falls - he lies for three days.
Parsley. As much as you want?
Gypsy. One hundred thousand
Parsley. It is expensive.
Gypsy. How much pan will give?
Parsley. A thousand.
Gypsy. Not enough, sir, give.
Parsley. Musician!
Musician. What?
Parsley. How much for a horse?
Musician. Yes, five thousand.
Parsley. Ten thousand ladies.
Gypsy. Come on, sir, a deposit.
Parsley. Bring a horse.
Gypsy. I won't give you a horse without a deposit. Farewell, sir.
Parsley. Wait, I'll bring the deposit. I'll borrow from my sister.
Gypsy. And who is she?
Parsley. The girl is young. Skalochka Drakulovna Kolotushkina. She will kiss you...
Parsley takes out a good stick in return for the deposit and begins to give the deposit.
Parsley. Here's a ruble for you, here's two for you!
Gypsy. Ah ah ah! Where are the doors! Ah ah ah!
Parsley. Expensive ... Get a curly stick and a club-hump both on your neck and in your back.
Gypsy. Add, Petrushka, to the kids for fat ...
Parsley. So it's not enough for you?
Petrushka (begins to beat the Gypsy). Here's a thousand, here's two! (Gypsy runs away.) Wow! From such a deposit will not be healthy!
Musician! Come here horse. Whoa, whoa! Stop, don't jump! Ooh, not a horse, but fire! Stop! You need to count the teeth, how old she is. (Looks into her mouth.) The horse is quite young: there is not a single tooth in her mouth yet!
(Tries to mount the horse) Whoa, whoa, whoa! Turn around, horse, like this. Musician! What a agile horse! .
Parsley. Whoa-whoa-whoa, stop, Persian, don't kick! Here's a toy for you, here's a devil bought for your money. (Falls off the horse.) Oh, little head, oh, my Praskovya Stepanovna is gone! Oh, oh, musician! Call the doctor!
Picture three
During the ride, the horse throws off and beats Petrushka and then runs away. At this time, Petrushka screams.
Musician. And here comes the doctor.
Doctor. I am a doctor-healer, a German pharmacist. They bring me on their feet, and send them on crutches. What are you screaming, squealing here? Well, get up.
Parsley. I can't sit on my feet. And he lost his head.
Doctor. Let's add a new one. Get up.
Parsley. Oh oh oh, my death has come.
Doctor. Where was she before?
Parsley. In field.
Doctor. What did she do there.
Parsley. Digging potatoes. Oh, oh, oh save me, oh it hurts, oh it hurts.
Doctor. Yes, where do you refill? Here.
Parsley. Higher!
Doctor. Here "- where exactly?
Parsley. Lower!
Doctor. Here "- where exactly?
Parsley. Higher!
Doctor. The devil will sort you out: then higher, then lower, then higher, then lower! Get up and show me!
Parsley. Get up and show?
Doctor. Yes, show me.
Parsley. And now I will show and explain. (Petrushka leaves and carries a stick and beats the Doctor, showing him.) First higher, then lower.
Doctor. Ah ah ah! (runs away
Parsley. A musician, a musician!
Musician. What's happened?
Parsley. So I showed him and even explained. And now I'll sit down and sing a song.
At this time, Barbos runs in, Vanya stops and starts teasing him.
Parsley. Qiu-qiu! , Shavochka-kudlavochka, what a mess you are
Mukhtarka. Bow-wow! (Seizes Vanya.)
Parsley (teasing for the second time). Tsyu-tsyu-tsyu!
Mukhtarka. Bow-wow! (Seizes him.)
Parsley. Mukhtarka grabs Petrushka by the shirt.) Stop, stop, Mukhtarka, you'll tear your shirt! Stop, Mukhtarka, it hurts! (The dog rushes at him and grabs his nose.) Ay, fathers, intercede! My little head will disappear completely with a cap and a brush! Oh! Oh oh!
Vedas: Well, guys, did you like my friend Petrushka?
(yes) Guys, have you watched carefully?
Do you remember what animals Petrushka met today?
Stroking - caressing
Teasing - biting.
Answer to the puzzle: dog
(The student who plays the dog comes out)
I have a big mane
Ears and hooves.
I'll ride that playfully
Who is not afraid.
My fur is smooth
Who am I?…
Answer to the riddle: horse
(the student who plays the horse comes out)
Vedas: And let's guys play with a horse and a dog.
Tell me, how does the horse talk? No way. Right. The horse does not talk, but only neighs and snorts. Now let's imagine that each of you is an artist like this fair theater and he needs to portray a horse. Let's snort and now snort. Fine.
GAME "Rap-crackers"
And now for our horse to jump, let's pat our knees with our hands. Yes, louder, louder, and now quieter, quieter. And now, as I raise my hand up, it means the horse has galloped close and you need to click louder. As I lower my hands, it means the horse has galloped away. You need to be quieter. All clear. And as I clap my hands, the horse stopped. Whoever remains clattering after my clap is inattentive and lost.
Vedas: Guys, each hero in the theater has his own voice. For example, a cat purrs, a frog croaks. And what a dog's voice. Guys tell me we have a good dog or evil. And how an angry dog barks. Guys, how a kind little dog barks. Well, that's enough, otherwise all the dogs will come running now. Let's give our animals a round of applause.
Vedas: Guys, look carefully at Petrushka. What animal does he look like? Here is a riddle to help you.
The master walks around the yard, finds fault with everything,
Double beard, side cap.
Who screams the most
Yes, he does the least.
What kind of bird is not afraid of people
Doesn't fly high, but sings: "Ko-ko-ko-ko"
After all, it is not for nothing that His name is Petrushka and his voice is as sonorous as that of a cockerel.
Vedas: Guys, do you know that Petrushka has a surname. (no) So here it is full name Petr Ivanovich Uksusov, and sometimes he is called Petrushka Samovarov, and when he plays pranks, his name is Vanka Rototuy or Vanka Rutyutya.
Vedas: Guys, let's remember what people Petrushka met today. (Bride, Doctor, Gypsy). Let's give them a round of applause. These artists are very fond of dancing and playing different games. Let's play with them. I ask everyone to dance.
Game-dance "Like grandfather Makar"
Children stand in a circle, hold hands. The leader is in the center. The players walk in a circle and sing the words:
Like Uncle Makar
Had ten sons
They drank, they ate
Together they did this.
Like this, like this, like this, like this, like this!!!
Here and there, here and there!
At last words everyone begins to repeat his gestures. The one who repeated the movements best of all becomes the leader.
Game-dance "A grandmother lived near the river"
The facilitator invites the children to memorize the words of the songs.
There lived a grandmother near the river itself. Grandma wanted
swim in the river. I bought soap. I bought a washcloth. uh, and a song
okay, start over!
Then it is proposed to memorize the movements that
later replace the words in the song:
"Grandma" - depicted with hands,
like a grandmother tying a scarf under her chin,
"river" - waves,
"Swim" - depict a swimmer,
"bought" - clap,
"soap" - right hand up,
"bast" - left hand up,)
“start over” - turntable with hands in front of the chest
With each repetition of the song, the tempo of the performance is faster.
Game dance. "I have one aunt"
Aunt - let's go forward hands to the sides
We repeat the movements after the leader. After the verse in the loss, we mix 2 squares to two, the movements of the verse with a turn to the right, and then to the left.
Pens
legs
Shoulders
Boki
Jumping
PEOPLE'S THEATER- Theater created directly by the people themselves, existing among the broad masses in forms organically related to oral folk art. In the process of historical development of the arts. culture of the people, the fundamental principle, giving rise to the entire subsequent history of prof. theater. lawsuit, is Nar. theater. creation.
Folklore theater is the traditional dramatic art of the people. The types of folk entertainment and play culture are diverse: rituals, round dances, dressing up, clowning, etc. In history folklore theater It is customary to consider the pre-theatrical and majestic stages of folk dramatic creativity. Pre-theatrical forms include theatrical elements in calendar and family rituals. IN calendar rites - symbolic figures Shrovetide, Mermaids, Kupala, Yarila, Kostroma, etc., playing scenes with them, dressing up. A prominent role was played by agricultural magic, magical actions and songs designed to promote the well-being of the family. For example, for winter Christmas time, a plow was pulled through the village, "sowed" in the hut with grain, etc. With the loss magical meaning the ceremony turned into a fun. wedding ceremony also represented; theatrical game: the order of "roles", the sequence of "scenes", the reincarnation of the performers of songs and lamentations in actor ceremony (bride, her mother). complex psychological game there was a change internal state the bride, who in the house of her parents had to cry and lament, and in the house of her husband meant happiness and contentment. However, the wedding ceremony was not perceived by the people as theatrical performance. In calendar and family rituals, mummers were the participants in many scenes. They dressed up as an old man, an old woman, a man dressed in women's clothing, and a woman - in a man's, dressed up in animals, especially often in a bear and a goat. The costume of the mummers, their masks, make-up, as well as the scenes they played were passed down from generation to generation. At Christmas time, Shrovetide, Easter, mummers performed humorous and satirical skits. Some of them later merged into folk dramas.
booth- a temporary wooden building for theater and circus performances popular at fairs and festivities. Often also a temporary light building for trade at fairs, to accommodate workers in the summer. IN figuratively- actions, phenomena similar to a farce performance (clownish, rude). Booths have been known since the 18th century.
nativity scene- folk puppet theater, which is a two-story wooden box, reminiscent of a stage. The Nativity Theater entered Russia at the end of the 17th - early XVII I centuries from Poland through Ukraine and Belarus. The name is associated with the original depiction of scenes about the life of Jesus Christ in a cave, where he was hidden from King Herod.
For Ukrainians, Belarusians and Russians, the idea was divided into two parts: religious and domestic. Over time, the religious part was reduced and acquired a local color, and the repertoire expanded and the nativity scene turned into a folk theater.
Unlike the "Petrushka theatre", the puppets are controlled from below
Nativity theater It was a large box, inside of which there was a stage, usually two-tiered. On the upper stage, the worship of the newborn baby Jesus was shown, on the lower stage - episodes with Herod, after whose death the everyday part of the performance followed. Wooden puppets were attached from below to a wire, with the help of which the crib-maker moved them along the slots in the floor. The main scenery on the stage is a nursery with a baby. At the back wall were the figures of the righteous Joseph with long beard and the Holy Virgin Mary. Scenes with the birth of Christ were traditionally played out in the upper tier. The owner of the den usually spoke the text himself different voices and drove puppets. The chorus boys sang Christmas carols. And if a musician was present, he accompanied the singing and dancing with music. The puppeteers and accompanying musicians and the choir went from house to house, or staged performances in places of public gathering - in the marketplaces.
In fact, a two-tiered box 1x1.5m, dolls moved on the tiers.
Petrushka Theater- The parsley screen consisted of three frames fastened with staples and covered with chintz. She was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen the actor began to communicate with the audience through a beep (whistle). Later, with laughter and a reprise, he ran out himself, in a red cap and with a long nose. The organ-grinder sometimes became Petrushka's partner: because of the squeaker, speech was not always intelligible, and he repeated Petrushka's phrases, carried on a dialogue. The comedy with Petrushka was played out at fairs and in booths.
In Russia, only men "led" Petrushka. To make the voice louder and squeaky (this was necessary both for audibility at fair performances and for the special character of the character), they used a special beep inserted into the larynx. Petrushka's speech was supposed to be "piercing" and very fast.
Unlike Nativity scene, the screen is not a box, but a window with “curtains”. And the person who controlled the puppet in the Petrushka Theater could show himself to the public and talk with his own puppet.
Rayok- folk theater, consisting of a small box with two magnifying glasses in front. Inside it, pictures are rearranged or a paper strip with home-grown images of different cities, great people and events is rewound from one rink to another. Rayoshnik moves pictures and tells sayings and jokes for each new story.
The highest manifestation of folk theater is folk drama. The first folk dramas were created in the 16th-17th centuries. Their formation came from simple forms to more complex ones. The most famous and widespread folk dramas were "The Boat" and "Tsar Maximilian". Folk household games were also played satirical dramas("Barin", "Imaginary master", "Mavrukh", "Pakhomushka", etc.), adjacent to the Christmas and Shrovetide games. They are based on dramatic scenes that were played out by mummers.
Some of folk dramas wore historical character. One of them is "How a Frenchman took Moscow."
Municipal state-financed organization Culture City Palace of Culture of the settlement Belye Berega
Folk puppet theater Petrushka.
(Methodological material)
Compiled by:
Choirmaster Borisova A.N.
2. Plays for the folk puppet theater "Petrushka";
Folk puppet theater Petrushka.
PARSLEY,“the nickname of a farce doll, a Russian jester, a joker, a wit in a red caftan and in a red cap; the name of Petrushka is also the whole clownish, puppet den ”(V. Dal). Parsley has been known since the 17th century. Russian puppeteers used marionettes (puppet theater on strings) and parsleys (glove puppets). Until the 19th century preference was given to Petrushka, by the end of the century - puppets, because. the parsley-makers teamed up with the organ-grinders. The parsley screen consisted of three frames fastened with staples and covered with chintz. She was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen the actor began to communicate with the audience through a squeaker (whistle). Later, with laughter and a reprise, he ran out himself, in a red cap and with a long nose. The organ-grinder sometimes became Petrushka's partner: because of the squeaker, speech was not always intelligible, and he repeated Petrushka's phrases, carried on a dialogue. The comedy with Petrushka was played out at fairs and in booths. From some memoirs and diaries of the 1840s, it follows that Petrushka had a full name - he was called Pyotr Ivanovich Uksusov or Vanka Ratatuy. There were main plots: the treatment of Petrushka, training in the soldier's service, the scene with the bride, buying a horse and testing it. The stories were passed from actor to actor, by word of mouth. Not a single character in the Russian theater had the popularity equal to Petrushka.
Usually the performance began with the following plot: Petrushka decided to buy a horse, the musician calls a gypsy horse-dealer. Petrushka examined the horse for a long time and bargained with the gypsy for a long time. Then Petrushka was fed up with bargaining, and instead of money, he beat the gypsy on the back for a long time, after which he ran away. Petrushka tried to get on a horse, which threw him off to the laughter of the audience. This could go on until the people laughed. Finally the horse ran away, leaving Petrushka lying dead. The doctor came and asked Petrushka about his illnesses. It turned out that he was in pain. There was a fight between the Doctor and Petrushka, at the end of which Petrushka hit the enemy hard on the head with a club. “What kind of doctor are you,” Petrushka shouted, “if you ask where it hurts? Why did you study? He himself must know where it hurts! The quarterly appeared. “Why did you kill the doctor?” He answered: "Because he knows his science poorly." After interrogation, Petrushka beats the quarterly with a club on the head and kills him. A snarling dog came running. Petrushka unsuccessfully asked for help from the audience and the musician, after which he flirted with the dog, promising to feed it with cat meat. The dog grabbed him by the nose and dragged him away, and Petrushka shouted: “Oh, my little head with a cap and a brush is gone!” The music stopped, which meant the end of the show. If the audience liked it, they did not let the actors go, applauded, threw money, demanding continuation. Then they played a little scene Petrushka's wedding. The bride was brought to Petrushka, he examined her as they examine horses. He liked the bride, he did not want to wait for the wedding and began to beg her to "sacrifice herself." From the stage where the bride “sacrifices herself”, the women left and took their children with them. According to some reports, another scene, in which a clergyman was present, enjoyed great success. She did not get into any of the recorded texts; most likely, she was removed by censorship. There were scenes in which Petrushka did not participate. It was dancing and juggling with balls and sticks.
collapse Comedy about Petrushka starts at the beginning of the 20th century. Parsley began to appear at children's parties and Christmas trees, the text of the scenes changed, losing its sharpness. Petrushka stopped killing. He brandished his club and dispersed his enemies. He spoke politely, and the "wedding" changed, turning into a dance with the bride. Gone was the rude common language, and with it the individuality of the hooligan joker, to whom both old and young came running.
Until now, the puppet theater uses glove puppets, and behind the screen of the theater, Petrushka has given way to other heroes. “The organ-grinder is in our yard this spring, / He dragged the actors of the troupe on his back: / He unfolded the screen in the middle of the yard; / Janitors, lackeys, laundresses, coachmen / Crowded near the screens to stare, / How Petrushka will represent the comedy.
It seems that the search for the “first plot” of the first parsley is futile. And not only because they repeat the methodological costs of the “borrowing theory” (and more broadly than the comparative method in theater science and folklore), but also because in all folk cultures ah, on all continents they will give paradoxically positive results. Archaeological excavations, textual studies, myths, evidence of ethnographers today allow us to simultaneously consider culture as the source of this comedy ancient rome, and the culture of the countries of the East. A similar doll was found by archaeologists even on Easter Island.
There is probably no point in searching for “first parsley”, because this phenomenon belongs to the universal culture. But the folk puppet comedy at the same time remains a purely national achievement. It is more reasonable to explain the identity of such comedies in many countries of the world by the similarity of dialectically developing in line with a single historical process folk cultures based on identical folk calendar games and socio-historical conditions.
According to travelers, the puppet comedian was always with the leader of the bear, who demonstrated “bear fun”. The content of the comedy was obscene. Here it is necessary to pay attention to the statements of witnesses that the puppeteer, as a rule, also played the role of a goat, a clown, a jester. It is quite natural that these roles were projected onto the puppet character as well. The puppet comedy in the complex of the buffoon performance seen was the last, “shock” number, which testifies to its success with the audience, who were not embarrassed by the buffoon content of the comedy. In the 17th century comedies were accompanied by a guslyar or horn player. He was a kind of link between the puppet and the audience: he called, collected payment, conducted a dialogue with the hero, acted as a raeshnik. The accompaniment of puppet comedy has changed over time. In the first half of the XVIII century. "Petrushka" performed his songs and dances to the sounds of a beep, violin. Later, when the hurdy-gurdy appeared in Russia in the second half of the 18th century, this mechanical wind instrument, which did not require musical abilities from the performer, replaced folk instruments. The appearance of the hurdy-gurdy in the system of folk puppet shows, apparently, testified to the beginning of the extinction of this type of theater, its transition to the system of commercial farce performances.
During the period under study, the technique of showing performances of puppet comedy underwent partial changes. At the beginning of the 17th century, a witty construction served as a screen, which looked like this: “... in front of a man in a women's skirt with a hoop at the hem, he lifted it up and, closing in this way, can calmly move his arms, lift dolls up and represent whole comedies ...” ( 18). This extremely mobile screen allowed the puppeteer to instantly start the performance and also finish it with lightning speed, if circumstances so required.
It is known that in the 19th century the arrangement of the screen was already different. “A sheet of krashenina was hung on two sticks, and because of this sheet the puppeteer showed his performance.” There were also more complex designs, when the puppeteer showed a performance from behind a screen forming a four-sided pillar. Inside the screen was placed a box with dolls (19). To install such screens, you need, of course, more time and, consequently, a more tolerant attitude of the authorities to the fact of showing the performance. However, given that in the XVII century. puppet comedy existed in the position of a persecuted folk theater, it is realistic to assume that at one time a screen-skirt was more practical for performers than the design of screens of the late 18th - 19th centuries. She, perhaps, saved the puppeteer from paying tax - the inevitable "every fifth money" in favor of the treasury.
During the performance, dolls that did not participate in this scene were most likely hung on the artist's chest. When the puppeteer lowered the skirt raised above his head and turned into a buffoon, a buffoon jester, the puppets hanging on his clothes served as additional clownish decorations and attributes.
In the texts of the Masquerade “Triumphant Minerva” by F. Volkov, the following passage was not entirely clear until now: “Momus or a mockingbird. It has dolls and bells on it.” Considering that this part of the masquerade was “theaters with puppeteers”, the analogy with the folk puppeteer, who lowered the screen-skirt and appeared before the audience, was the god of tomfoolery, hung with puppets.
It is possible that a new design of the screen appeared among Russian puppeteers along with the advent of the barrel organ.
The performance of "Petrushka" was given by two actors - a puppeteer and a local musician. This principle, apparently, remained unchanged throughout the entire period of comedy's life. Before early XIX centuries, the tradition of performing this comedy with the help of “glove” puppets may have remained unchanged.
Performances with the use of these puppets require a minimum of skill from the performers. The scenography of such a theater is much simpler, more conventional than scenography professional theater puppets. This can be easily seen by comparing the drawing of Olearius with engravings depicting puppet performances. Western Europe that time.
The Petrushka Theater did not know the scenery. He also did not know the numerous props inherent in the performances of professional puppeteers. The only sham detail of the comedy was the baton, which put an end to the finals of the comic scenes, dropping into the heads of parsley's enemies. In the course of the action, the same club was played by the main character like a violin, and like a broom, and like a gun.
Time changed not only the design of the screen, accompanying musical instruments, but also the plot of the performances, character, appearance, even the name of the protagonist.
This hypothesis is the most probable, but not the only one. The hero of the comedy (according to consonance) could adopt his name from the name of one of his predecessors - the ancient Hindu jester Vidushak, who had a hump, a “funny head”, causing the audience to be amused by his behavior (21). Both Vidushaka and Petrushka are both arguing, both are stupid with some kind of special, feigned carnival stupidity. The language of both heroes is the language of the crowd, the instruments of their reprisal are the club and laughter.
Other versions are equally possible. In roadside actors-puppeteers early XVIII V. we meet the name of Petrushka Ivanov, and in the first half of the same century, the puppeteer Pyotr Yakubovskoy gave performances in Moscow. It is likely that the puppet hero could borrow his name from one of the puppeteers, whose performances were the most popular.
The following assumption, although it may seem unlikely, but also, apparently, has the right to exist. Jesters and folk comic heroes often received nicknames for the names of various foods and seasonings. Ganstvurst - Ivan Sausage (in Russia this name was translated as “hare fat”), Jean Farina - Ivan Muchnik, a French variety of Openwork, Pikkelgering - Pickled herring, Jack Snack - snack. Why shouldn't Petrushka get his name the same way? Later (probably in the first third of the 18th century) the surname Samovarov appeared in him in memory of a technical novelty that had taken root in Russia, introduced by Peter I.
In addition, there is every reason to assume that this hero - a loud-mouthed bully in a red cap, with a cock's profile, often depicted riding a rooster, himself - a spitting image of a rooster, could borrow from him along with his character and name. Moreover, in Russia every rooster is “Petya”.
One way or another, it should not be forgotten that Petrushka acquired his name in the “Petrov Age”, when the reformer of Russia, who did not know sentiments, in the apt expression of V.N. Vsevolodsky-Gerngross “signed his rescripts not with a pen, but with a club” (22) , and during rest hours, under the name of Petrushka Mikhailov, he drank and fooled around at “the most joking cathedrals”.
UNDER THE NAME "PARSLEY"
(People's Theater / Compiled, introductory article, preparation of texts and comments by A. F. Nekrylova, N. I. Savushkina. - M .: Sov. Russia, 1991. - (B-ka of Russian folklore; T. 10), pp. 251-254, comments pp. 506-507).
Exit parsley.
We wish you well, gentlemen. Be healthy, with that day and the holiday that is today. (Referring to
Musician
.)
Musician! You know what brother?
Musician. And what?
Parsley. I, brother, want to get married.
Musician. Not a bad thing, but on whom?
Parsley. Oh-ee-ee! On Praskovya Stepanovna, on the merchant's daughter.
Musician. Do you take a lot of dowry, Vanya?
Parsley. Forty-four thousand and half a quart of vodka, two herrings, caviar and three-pound bottles.
Musician. The dowry is not bad, but the bride is good?
Parsley. Eee, very good!
Musician. Well, show me.
Parsley. I'll call now. (calls.) Paraskovia Stepanovna! Darling, my angel, flower, please come here! (Parascovia walks. At this time, Vanya meets and presses and kisses him tightly to his heart and asks.) How are you, Paraskovia Stepanovna? (Turns to the Musician.) Musician! What about my fiancee?
Musician. Good, good, but a little blind.
Parsley. Not true! What an eye, what an eyebrow, mouth, nose, and what boobs
(and at this time kisses). Musician! Play us Kamarinsky!
Vanya and the Bride dance and sing:
Well, move
When the money started!
Go, hut, go, bake,
The owner has nowhere to lie.
Then Vanya hugs her and escorts her home.
Parsley. Musician! Thank God I got married.
Musician. Now I need to buy a horse for my young wife.
Parsley. That's it, brother, from whom to buy?
Musician. Gypsy Gavril.
Parsley. Where does he live?
Musician. On right side in a big pub.
Parsley (calling Gypsy). Hey, Gavrylo, smeared snout, come here!
Gypsy (walks and sings).
Yes, the fog is furious,
And the frost in the valley
Yes, between the fogs
The gypsies stood.
And bov is healthy, sir. What do you require?
Parsley. I heard that you have a sales horse. Do you want expensive? And is she good?
Gypsy. Good is good. Not a sopat, not a humpback, alive, not undermined, but running - the earth trembles, but falls - lies for three days, and in the mud - burst, even carry it yourself.
Parsley. As much as you want?
Gypsy. Two hundred and fifty rubles.
Parsley. It is expensive.
Gypsy. How much pan will give?
Parsley. One hundred rubles.
Gypsy. Not enough, sir, give.
Parsley. One hundred and twenty.
Gypsy. Come on, sir, a deposit.
Parsley. Bring a horse.
Gypsy. I won't give you a horse without a deposit. Farewell, sir. (Petrushka at this time catches the Gypsy by the forelock and hits the wall.) Having bought without buying, there is no need to fight. Come on, sir, a deposit.
(At this time, Vanya leaves.) Our business is to steal, sell, exchange, get money, eat, drink.
(At this time, Vanya is carrying a stick.)
Parsley. Well, gypsies, get a deposit! (And hits him on the head with a stick.)
Here's a ruble for you!
Gypsy (shouts). A-ya-yay!
Parsley. Here's two, three, four, five.
The gypsy receives a deposit and runs away.
Parsley (leaves on a horse).
And what, musician, is my horse good for a young wife?
Musician. Nice, just chrome.
Parsley. You're lying, she's good! Play me a gallop.
While riding, the horse throws and beats Vanya and then runs away. At this time, Vanya screams.
Parsley. Oh my god! It hurts around the heart! Who will get my Paraskovya Stepanovna?
Musician. What's happened?
Parsley. Call me a doctor!
Musician. And here comes the doctor.
Doctor. I am a doctor-healer, a German pharmacist. They bring me on their feet, and send them on crutches. Where does it hurt?
Parsley. Higher!
Doctor. Here "- where exactly?
Parsley. Lower!
Doctor. Here "- where exactly?
Parsley. Higher!
Doctor. The devil will sort you out: then higher, then lower, then higher, then lower! Get up, be healthy!
Vania (rises). And how much, doctor, for your work?
Doctor. Five rubles. (Vanya went.)
Come on, money! Our job is to prescribe the medicine, money, tear the skin and send it to the next world.
At this time, Vanya enters and instead of five rubles brings a stick and gives the doctor blows with a stick.
Parsley. Here's a ruble for you, here's two for you! Here's three for you!
The doctor does not receive the rest of the money, but runs away.
Parsley (Musician). And what, did the doctor get money well?
Musician. Fine.
Parsley. Oh, now I'll sit down and sit and sing a song.
Chizhik-pyzhik, where have you been?
I drank vodka at the market.
Drank a glass, drank two -
Spinning around in my head!
Police officer (hitting Vanya). Are you here, scoundrel, making noise, screaming, not letting anyone sleep? I will send Barbosa to you, he will bite off your long nose!
At this time runs watchdog , Vanya stops and starts teasing him.
Parsley. Qiu-qiu!
Barbos. Bow-wow! (Seizes Vanya.)
Parsley(secondary teasing). Qiu-qiu!
Barbos. Bow-wow! (Seizes him.)
Parsley (says goodbye to the audience and shouts). Barbos, Barbos, my long nose is gone!
The end of the orator Vanya.
